o _ SALE NUMBER 1707 
_ ON PUBLIC EXHIBITION FROM THURSDAY, FEBRUARY FIRST 


-— THE COLLECTION OF 
| DRAWINGS ORSCEE OLD MASTERS 


- FORMED BY THE 
WELL-KNOWN CONNOISSEUR 


“ ~ MR. VICTOR KOCH 


OF LONDON, ENGLAND 


PART ONE 


NTAINING IMPORTANT EXAMPLES OF THE DUTCH, FRENCH, FLEMISH, 
IAN AND ENGLISH SCHOOLS, INCLUDING A REMARKABLE SERIES OF 
_ THE WORKS OF REMBRANDT, DURER AND GAINSBOROUGH 


TO BE SOLD BY HIS ORDER 
THURSDAY EVENING, FEBRUARY EIGHTH 
AT EIGHT’FIFTEEN 


THE ANDERSON GALLERIES 
_ EMITCHELL KENNERLEY, PresipenT] 


_ PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 
1923 


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SALE NUMBER 1707 
ON PUBLIC EXHIBITION FROM THURSDAY, FEBRUARY FIRST 


THE COLLECTION OF 
DRAWINGS OF THE OLD MASTERS 


FORMED BY THE 
WELL-KNOWN CONNOISSEUR 


MR. VICTOR KOCH 


OF LONDON, ENGLAND 


PART ONE 


CONTAINING IMPORTANT EXAMPLES OF THE DUTCH, FRENCH, FLEMISH, 
ITALIAN AND ENGLISH SCHOOLS, INCLUDING A REMARKABLE SERIES OF 
THE WORKS OF REMBRANDT, DURER AND GAINSBOROUGH 


TO BE SOLD BY HIS ORDER _ . 
THURSDAY EVENING, FEBRUARY EIGHTH 
AT EIGHT’FIFTEEN 


THE ANDERSON GALLERIES 
[MITCHELL KENNERLEY, Presipenr] 


PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 
1923 


CONDITIONS OF SALE 


ALL BIDS TO BE PER PIECE AS DESCRIBED IN THE CATALOGUE. 


The highest bidder to be the buyer. In all cases of disputed bids the decision 
of the Auctioneer shall be final. 


Buyers to give their names and addresses and to make such cash payments on 
account as may be required, in default of which the lots purchased shall be 
resold immediately. 


Purchases. to be removed at the buyer’s expense and risk within twenty-four 


hours from the conclusion of the sale, and the remainder of the purchase money 
to be paid on or before delivery, in default of which The Anderson Galleries, 


Incorporated, will not be responsible for any loss or damage whatever, but the 
[ot or lots will be left at the sole risk of the purchaser, and subject to storage 
charges. 


All lots will be placed on public exhibition before the date of sale, for examina- 


tion by intending purchasers, and The Anderson Galleries, Incorporated, will | 


not be responsible for the correctness of the description, authenticity, genuine- 
ness, or for any defect or fault in or concerning any lot, and make no warranty 
whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. 


If accounts are not paid and purchases removed within twenty-four hours of the 
conclusion of the sale, or, in the case of absent buyers, when bills are rendered, 


any sum deposited as part payment shall be forfeited, and The Anderson Gala 


leries, Incorporated, reserve the right to resell the lot or lots by either private 
or public sale, without further notice, and if any deficiency arises from such 


resale it shall be made good by the. defaulter, together with all expenses in- _ 


curred. This condition shall be without prejudice to the right of this Com- 
pany to enforce the sale contract and collect the amount due without such 
resale, at its own option. 


The Anderson Galleries, Incorporated, will afford every facility for the employ- 
ment of carriers and packers by the purchasers, but will not be responsible 
for any damage arising from the acts of such carriers and packers. 


The Anderson Galleries make no charge for executing orders for their cus- 
‘tomers and use all bids competitively, buying at the lowest price permitted 
by other bids. 


Priced Copy of this Catalogue may be secured for one dollar 


THE ANDERSON GALLERIKES, INC. 
PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 


TELEPHONE PLAZA 9356 SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN > 


Se ee ee ee Se 


INTRODUCTION 


AINTINGS and sculptures are the achievements of 
artists; drawings are their intimate thoughts. ‘The opti- 
mists, the realists, the men of action, and the young, like 
achievements. ‘hose who have become skeptical through 
age, contemplation and experience know that achievement 
is limited in comparison with the infinite dream of the cre- 
ative spirit. A home can be decorated with a row of master- 
Pieces on its walls; a bare room with a portfolio of drawings 
in the corner may contain greater and more intense treasures 
of beauty. 


Yet drawings, of course, are not all of the same kind. 
There is the sketch after nature that shows how the imagin- 
ative artist sees life. It is used as record and material by the 
artist. [here is secondly the sketch of a composition, the 
imaginary plan of a work to come, that later on is to be filled 
with the detail of life. ‘here is thirdly the drawing created 
as final purpose by the artist. In the first two categories the 
character of the artist reveals itself. ‘The followers, the men 
of the Schools, and the imitators will cling to the details of 
nature in their studies without seeing the inner structure, and 
instead of freely flowing imagination, the rules, recipes and 
dogmas of the academies will help them to build up, not a 
microcosmos, but a stage setting. 


There are, however, exceptions. Genius is freedom and 
daring. Routine work is inhibition and repression that does 
not dare to show to others what might not be in accordance 
with established convention. But sometimes even the conven- 
tional ones have moments where they think they are unob- 
served, and where they give themselves freely. A drawing of 
a minor master may sometimes show a power of inspiration 
which the same man would never be capable of in a painting. 
This psychological fact increases the interest in drawings. 
While in paintings the establishment of authorship is a matter 
of historic facts, it is a question of psychology in drawings, and 
it seems therefore to be of greater interest in drawings. Keen 
eye and perception may sometimes lead to indisputable state- 
ments. In other cases, a final solution may be impossible. If 
every problem could have a solution the world would soon be 
at a standstill for lack of interest. 


The third type of drawings is created not for the purpose 
of study but as a final expression. They may be called small- 
sized paintings; they have psychologically nothing to do with 
the first two classes and are generally remarkable for careful 
execution rather than for free inspiration. 


The Collection of Mr. Victor Koch, a well-known finan- 
cier of London, the first part of which is now offered for sale 
in New York, shows a deep understanding of the pyschology 
of drawings. It abounds in works that reveal genius, per- 
sonality and temperament. He laid particular stress on secur- 
ing drawings by the great masters, which are now becoming 
as rare as their paintings, and which fetch in the stores of 
the European dealers or in the European auction rooms, ex- 
tremely high prices. His collection is familiar to European 
experts. Mr. Roger Fry has studied it thoroughly and com- 
ments upon it very favorably. He calls the superb series of 
Gainsborough drawings the “outstanding feature of the works 
of the British School,” and qualifies them as “All of excellent 
quality and some of the utmost importance.” ‘The head by 
Signorelli is “typical of one of the greatest draftsmen of all 
time.” ‘The very fine Correggios and the Filippino Lippi 
would alone make the Italian group important.” He also 
dwells upon the “beautiful Guardi and several important 
Tiepolos.” About the Dutch drawings, Mr. Roger Fry wrote 
to Mr. Koch: 


“You appear to me to have made yourself a serious and 
learned connoisseur of this school, with the result that you 
have accumulated so many typical and well-authenticated 
drawings, not only of the greater masters but also of the lesser 
known painters, that your collection would form a useful 
point de repere for the study of Dutch art.” 


Among the German drawings, he stresses the importance 
of the Lucas Cranach and the Hans Baldung Grien. 


The collection is also well known to Dr. W. R. Valen- 
tiner, who intends publishing the Rembrandt drawings Num- 
bers 60, 61, 62, 63, in his forthcoming book on Rembrandt’s 
drawings. In his commentaries upon the present collection, 
Dr. Valentiner particularly emphasized the importance of 
Numbers 49, 53, 55, 56, 57, and 59, besides the splendid 
series of Rembrandts. Among the German drawings, he de- 
clared himself particularly impressed by the Cranach, Num- 
ber 70, and the Dtirer, Number 72. In the presence of such 


authorities, to which we may add, the well-known expert on 
drawings, Dr. Lilienfeld, and in consideration of the excel- 
lent pedigrees of many of the drawings, such as Collection 
Mrozateoi Peter Lely, Sir Joshua Reynolds, Esdaile and 
Heseltine, further comments upon the quality of this collec- 
tion are unnecessary. 


The present selection is the first part only of the whole 
collection. ‘Che division has been made numerically. 


R. M. RIEFSTAHL, PH.D. 


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LIST OF ARTISTS 


NUMBER 

ALLEGRI A. (IL CORREGGIO) 44, 45, 46 
ALTDORFER, A. 69 
BARBARELLI, G. (ATT. TO) 16 
BARBIERI, G. F. ZA 25 ay 2 
BAROCCIO, F. 22 
BARTOLOMEO, FRA 19 
BAZZI, G. A. 28 
BOLLLY.,-L. I 
BOLTRAFFIO, G. A. 21 
pet btiCeLLlL S. 29 
BOUCHER, F. ps 
BREUGEL THE ELDER, P. iia 
BROUWER, A. 58 
CORREGGIO 44, 45, 46 
Cir NnnCH THE ELDER, L. 70 
DAUBIGNY, C. 6 
DE KONINCK, P. S22 54 
DE VLIEGER, S. 49 
DOOMER, L. 56 
DURER, A. We 
Parken (ATT. TO) cI 
FLORENTINE SCHOOL ae 
FRAGONARD, J. H. 2 
FRANCIABIGIO 14 
GAINSBOROUGH, T. IMA eine IO; On OL 2 82 RARE ORG. 
87, 88, 89, 90, 91, 92 

GERMAN SCHOOL, EARLY 66 
GIORGIONE, IL (ATT. TO) 16 
GRAF, U. 67 
eiLON. H. B. 68 
GUARDI, F. 43 
GUERCINO 24, 25, 26, 27 
ITALIAN MASTER, LATE 17TH CENTURY 18 
ITALIAN SCHOOL 20 
JORDAENS, J. t2 
LEPRINCE, J. B. Z 
LIEVENS, J. eS 
| wall) ol eels 33 
METZU, G. 50 
MICHELANGELO (ATT. TO) 34, 36 


MICHELANGELO (SCHOOL OF) 35 


MODENA, M. DA 
MURILLO, J. E. 

PADUAN SCHOOL 

PATINIR, J. 

PRIMATICCIO, F. 

RAEBURN, SIR H. 
RAFFAELLE SANZIO 
REMBRANDT VAN RIJN 
REMBRANDT (SCHOOL OF) 
ROBUST. |. CLINTORET10) 
ROUSSEAU, T. 

RUBENS, P. P. (ATT. TO) 
SIGNORELLI, L. 

TERBORCH, G. 

TIEPOLO, G. B. 
TINTORETTO 

TURNER, J. M. W. 

VAN DE CAPELLE, J. 

VAN GOYEN, J. 
VAN HUYSUM, J. 

VAN OSTADE, I. 

VAN RUYSDAEL, J. 
VENETIAN SCHOOL 
WATTEAU, A. 

ZERIO Sa DAW Ae TO) 


NUMBER 


yi 


60; 61, 6203, 


39; 40, 4I, 


31 
iB) 
17 


SALE THURSDAY EVENING, FEBRUARY EIGHTH, AT 8:15 


DRAWINGS OF THE OLD MASTERS 
FROM THE COLLECTION OF 
NURS VLC LORAROC EI 
OF LONDON, ENGLAND 


PART ONE 
NUMBERS 1-92 


PRENCH SCHOOL 
NUMBERS 1-8 


LEOPOLD BOILLY 
FRENCH, 1761-1845 


Pee OUP OF HEADS, “TASTE” 
Colored chalk. Sketch for one of the expressive litho- 
graphs of the artist. Size, 918 X 7% inches 


JEAN HONORE FRAGONARD 
FRENCH, 1732-1806 


2 LADY SEATED, READING 
Black and white chalk on tan paper. ‘The lady sitting 
before a draped table and holding a book in her hands. 
WIZE AIS X O54 inches 


ANTOINE WATTEAU 
FRENCH, 1684-1721 


fee OR TRAIT OF A LADY IN HUNTING COS- 
TUME 

Red and white chalk on tan paper. Seated, the tricorn 

set coquettishly on the head. ‘The lady holds a rifle in 

her right hand. Size, 9 X § inches 


I 


FRANCOIS BOUCHER 
FRENCH, 1703-1770 


Ae CUPL DELO DUNG ASG 


5 


Colored chalk. Cupid sitting on a rock, upholding in 
his left hand the cup which he has filled from a brook in 
the foreground. Landscape background. Signed in the 
lower left. Size, 11%4 x 7% inches 


FRANCOIS BOUCHER 
FRENCH, 1703-1770 


AN IDYLLIC HAMLET ON A MILL POND 

Sepia wash. Boy and girl with boat in the foreground. 
On the other side of the mill pond, a pointed medieval 
tower and picturesque grouping of cottages with a per- 
spective on far-away woods. Size, 124% x 17 inches 


CHARLES DAUBIGNY 
FRENCH, 1817-1878 


LANDSCAPE ON THE MARNE 

Pencil. ‘The slow flowing stream to the left; in the cen- 

tre, boat with two men, groups of trees, gently rolling 

meadows and hills. Seal with the initials of the artist. 
Size, 91% x 16% inches 


JEAN BAPTISTE LEPRINCE 
FRENCH, 1733-1781 


COTTAGES BY- TH REV 

Black chalk. Anglers and tree in the foreground. ‘The 
river separates them from the romantic tumble-down cot- 
tages in the middle ground. Size, 738 x 10 inches 


2 


IO 


II 


THEODORE ROUSSEAU 
FRENCH, 1812-1867 


VILLAGE LANDSCAPE 

Black chalk. A village probably near the forest of Fon- 

tainebleau. Study for the composition of a painting, of 

quick and thorough conception. Seal of the Rousseau 

estate, with the initials of the artist to the lower right. 
Size, 734 X 157% inches 


FLEMISH SCHOOL 
NUMBERS 9-13 


FOACHIM: PATINIR 
FLEMISH, ABOUT 1490-1524 


RIVER AND MOUNTAIN LANDSCAPE 

Pen drawing. A wide stream with inlets and channels 
interrupted by islands with abrupt mountains, castles, etc. 
Drawing of charming fantasy. Size, 55g x 1038 inches 


POACHING PATINIR 
FLEMISH, ABOUT 1490-1524 


RIVER LANDSCAPE 

Pen drawing. A river in the foreground; on the oppo- 
site shore a castle and farmhouses, surrounded by trees 
and meadow. Size, 434 x 734 inches 


Prete R BREUGHEL THE ELDER 
FLEMISH, ABOUT 1525-1570 


RIVER LANDSCAPE WITH CASTLE 

Pen and ink. A landscape full of the imaginative, fairy 

tale quality characteristic of Breughel’s work, combined 

with delicate exactness of detail. On the left bank, boats 

and a turret. (From the Fairfax Murray Collection) 
Size, 978 x 14% inches 


13 


14 


JACOB JORDAENS 
FLEMISH, 1593-1678 


ADORATION OF THE SHEPHERDS 

Sepia. The Virgin with child, and a shepherd to the 
right. Shepherds, one of them playing the flute, to the 
left; a donkey in the background. (From the Crozat 
Collection) Size, 1034 x 7 inches 


ATTRIBUTED TO PETER PAUL RV Gis 
FLEMISH, 1577-1640 

DIANA AND CALLISTO 

Black and red chalk. Group of maidens to the right, 

Callisto in their midst, Diana to the left, attended by a 

negress. A study for the master’s painting of the same 


subject in the Prado, Madrid. (From the Fairfax Mur- 
ray Collection) Size, 1114 xX 17 inches 


ITALIAN SCHOOL 
NUMBERS 14-46 


FRANCESCO BIGI (FRANCIABIGIO) 
FLORENTINE SCHOOL, 1482-1525 


HEAD OF A RED-HAIRED WOMAN, WITH 
HEADDRESS 
Black and white and red chalk. Size, 10% x 8% inches 


VENETIAN SCHOOL 
16TH CENTURY 


CASTLE ON A HILL 


Pen and sepia. Brush wood in the foreground. Land- 
scapes of this period are very rare. Collector’s mark in 
left corner. Size, 3% x 3% inches 


4 


16 


18 


19 


ATTRIBUTED TO GIORGIO BARBARELLI 
(IL GIORGIONE) 
VENETIAN SCHOOL, 1478 ?-I511 


VARIOUS SKETCHES 

Pen and sepia. Lute player, portrait sketch, various 
studies, hands, etc., on both sides. Dashing composition, 
which makes the attribution highly probable. Some of 
the figures are reminiscent of the “Concert” by Giorgione 
in the Louvre. Size, 87% x 13% inches 


PADUAN SCHOOL 
EARLY 160TH CENTURY 


SKETCH FOR A BRONZE 
In pen and sepia. A sea monster with an amorino stand- 
ing on its back, holding a torch. With an old signature 
“A Mantinea,’ which would point to Mantegna as 
author. ‘The attribution to Bellano, however, is more 
probable. (From the Carlo Prayer Collection) 

Size, 54% x 6% inches 


ITALIAN MASTER 
OF THE LATE 17TH CENTURY 


Cad ran 

Brush and sepia. At the foot of the cross, the Virgin 
holding the body of the dead Christ. Weeping angels 
around. Powerful and simple treatment of the masses. 
Collector’s mark “H B.” Size, 914 x 634 inches 


FRA BARTOLOMEO 
FLORENTINE, 1475-1517 


Tig APPARITION OF THE CHRIST | 

Red chalk. In the upper part of the composition, the 
apparition of the Christ; praying Franciscan monks on 
either side and below. Vivid sketch of two monks on the 
reverse. Size, 814 x 534 inches 


20 


21 


2 ee 


23 


ITALIAN SCHOOL 
ABOUT 1550 
STUDY OF AN ANGEL 
Red chalk and charcoal. Seemingly the angel of the 


Annunciation. (From the Earl of Warwick Collection) 
Size, 1138 x 7% inches 


GIOVANNI ANTONIO BOLTRAFFIO 
MILANESE SCHOOL, 1467-1516 
CARICATURE OF A MAN’S HEAD 


Pen and ink. The head seen in profile)” (fran 
Joseph Richardson and R. Holditch Collections) 


Size, 5 X 3 inches 


FREDERICO BAROCCIO 
ROMAN SCHOOL, 1528-1612 
PASTEL HEAD OF AsGiRe 


A vivid study after nature of a girl with blonde hair and 
rosy complexion. Size, 16 x 107% inches 


FRANCESCO PRIMATICCIO 
ITALIAN, 1504-1570 
NUDES 
Pen and ink on toned paper. ‘Two nude women, running 
with a third on their shoulders. Dog in the lower right. 
(From the Martette, Lazoy and Earl of Warwick Col- 


lections) Size, 918 x It inches 


GIOVANNI FRANCESCO BARBIERI (GUERCINO) 


BOLOGNESE, 1590-1666 


24 LANDSCAPE WITH TRAVELLERS 


Pen and sepia. In the typical manner of the artist, with 
rapid strokes of the pen. A group of trees to the left, a 
highway with man a-foot and another mounted on horse- 
back:. With collectors marks ae 

Size, 1134 x 165% inches 


6 


GIOVANNI FRANCESCO BARBIERI (GUERCINO) 


25 


BOLOGNESE, 1590-1666 


PORTRAIT OF A WARRIOR 
Pen and ink. A bearded man with long hair in plate 
armor, holding a sword over his right shoulder. 

Size, 85% x 73% inches 


GIOVANNI FRANCESCO BARBIERI (GUERCINO) 


26 


BOLOGNESE, 1590-1666 


THE VIRGIN AND FEMALE SAINT 
Pen and ink. The Virgin seated on a cloud in the upper 
right. The saint in the gown of a nun is holding the 
Christ Child lovingly in her arms. 

Size, 1134 x 7% inches 


GIOVANNI FRANCESCO BARBIERI (GUERCINO) 


27 


28 


BOLOGNESE, 1590-1666 


Pee reOr A YOUNG MAN SITTING AIT A 
TABLE 
Pen and ink. The young man wears a high fur hat and 
holds a sheaf of papers in his hand. 
Size, 104% X 75% inches 


GIOVANNI ANTONIO BAZZI (IL SODOMA) 


SIENESE SCHOOL, 1477-1549 


ST. SEBASTIAN 


Pen and ink with wash. An important sketch for the 
well known composition of the artist. On the reverse, 


two pen and ink sketches. See “Gazette des Beaux Arts,” 
Vol. 1, 1878, page 104. Size, 1038 x 7% inches 


7 


29 


30 


32 


33 


SANDRO BOTTICELLI 
FLORENTINE, 144'7-1510 
TWO DANCING FIGURES 
Pen and ink. ‘The one nymph jumping in a rapid move- 


ment to the left, while the other one moves backward in 
bold contra posto. Size, 934 X 798 inches 


LUCA SIGNORELLI 
TUSCAN, 1441-1523 
HEAD OF A WOMAN 


Black chalk. A pensive face framed in loosened hair. 
Size, 738 x 7 inches 


MARTINO DA MODENA 
FERRARESE SCHOOL, ABOUT 1470 
THE DESCENT OF THE HOLY GHOST 


Illumination from a missal in vivid colors and gold. 


Oval, 5% x 4% inches 


ATTRIBUTED TO STEFANO DA ZERIO 
FLORENTINE SCHOOL 


TWO DRAPED STUDIES FOR AN ANNUNCIA- 
TION 
Red chalk. Size, 938 X 10 inches 


FILIPPINO LIPPI 
FLORENTINE SCHOOL, 1457-1504 
DRAPED MODEL, MAN WITH CAP 
Red chalk. Perhaps a shepherd. of the Adoration. 


Rapidly sketched, the hands raised. 
| Size, 1544 x 958 inches 


§ 


34 


36 


37 


ATTRIBUTED TO 
MICHELANGELO BUONARROTI 


ITALIAN, 1475-1564. 


ANATOMICAL STUDY 

Pen and ink. Rapid sketch of extraordinary swing. On 
the reverse studies of two horses from another artist. 
(From the Laniere, Crozat, W. Y. Ottley, and Wm. 
Esdaile Collections) Size, 16 x 11% inches 


SCHOOL OF MICHELANGELO 


THKEE ANATOMICAL STUDIES 
Red and black ink. Repeated study of a man in the 
attitude of the Perseus of Cellini. 

Size, 123 x 7 inches 


APTRIBULED TO MICHELANGELO 
ITALIAN, 1475-1564 


fe) OF A MAN WEARING CAP 

Pen and sepia. Head of a man with flowing beard, the 
head draped by a turban-like cloth. Strong rhythm. 
(From the Sir Peter Lely and Earl of Pembroke Collec- 
tions) Size, 12% x 8Y inches 


JACOPO ROBUSTI (TINTORETTO) 
ITALIAN, 1512-1594 


Sey POR THE ADORATION OF THE SHEP- 
HERDS 

Black chalk and white wash on dark grey ground. Well 

massed composition of the Virgin and Child surrounded 


by three shepherds. (Collection of the Duchess of Wel- 


lington) Size, 654 x 8% inches 
y 


38 


ag 


40 


ATTRIBUTED TO RAFFAELLE SANZIO 
ITALIAN, 1483-1520 


STUDIES OF FIGURES 
Pen and ink. ‘To the right a female figure in rapid move- 
ment; group of men standing and walking to the left. 
The extreme fluidity of line indicates an artist close to 
the great master. On the reverse sketches for frames 
and cornices. (From the Collections of Sir Peter Lely, 
Joseph Richardson and Sir Joshua Reynolds) 

Size, 814 x 11% inches 


GIOVANNI BATTISTA TIEPOLO 
ITALIAN, 1693-1770 


STUDY FOR CEILING PICTURE 
Pen and sepia.. Jupiter and Juno, Hebe pouring wine in 
Jupiter’s cup. Rapid and skilful sketch. 

Size, 734 X 11% inches 


GIOVANNI BATTISTA TIEPOLO 
ITALIAN, 1693-1770 


HEAD OF AN OLD MAN 
Pen and wash. Bold, sketchy treatment. 
Size, 87% x 65% inches 


GIOVANNI BATTISTA TIEPOLO 
ITALIAN, 1693-1770 


MARTYRDOM OF ST. FAUSTINUS 
Pen and ink, heightened with wash. Group of warriors 
to the right. In the middle, a low tower on which the 
execution of the saint takes place, three angels hovering 
above. Boldly sketched. ‘The authorship of Tiepolo is 
also confirmed by the painting of the same subject by 
Tiepolo, in the Weisbach Collection in Berlin. With 
mark of the Collection of the Alliance des Arts. 

Size, 11 7 Ua enone. 


ie 


43 


44 


45 


GIOVANNI BATTISTA TIEPOLO 
ITALIAN, 1693-1770 


MARTYRDOM OF ST. AGATHA 

Red chalk. An extraordinary sketch of the artist for his 
famous painting in the Church of St. Anthony in Padua. 
Another representation of the same subject is in the Kai- 
ser Friedrich Museum in Berlin. (From the Basan Col- 
lection, with seal and hand-written note of Basan on the 
reverse) Size, 15 x 944 inches 


FRANCESCO GUARDI 
VENETIAN, 1712-1793 


Pee yt OR AN OPEN AIR DANCE 

Brush wash. Spectators on chairs watching the dancing 
couples in the centre. ‘Typical composition of the artist, 
showing his keen observation of people moving in the 
dazzling sunlight. (From the Jean Francois Gignoux 


Collection) Size, 6 x 8% inches 


ANTONIO ALLEGRI (IL CORREGGIO) 
LOMBARD SCHOOL, 1494°-1534 


Pedy OF A CROUCHING NUDE FIGURE 

Red chalk. A realistic study after life, without any aim 
at classical rhythm and for this reason the more striking. 
Endorsed by Lilienfeld. (From the Collection of Queen 
Christina of Sweden) ieee ean ea inches 


ANTONIO ALLEGRI (IL CORREGGIO) 
LOMBARD SCHOOL, 1494°-1.534 


STUDY OF DRAPED FEMALE FIGURE WITH. 
WINGS 

Red chalk. Study for one of the ceiling paintings of the 

artist. Squared off, in order to facilitate transfer and 

enlargement on the wall. Similar figure, roughly 

sketched in ink on the reverse. (With collector’s mark 


_° “W B,” and from the Collection Crozat) 


Size, 878 X 11% inches 


46 


47 


48 


49 


ANTONIO ALLEGRI (IL CORREGGIO) 
LOMBARD SCHOOL, 1494-1534. 
RECLINING FEMALE FIGURE 
Red and white chalk. Bold swing and simplification. 
(With marks of the Lankrink, Sir Peter Lely, Sir Joshua 
Reynolds and Paul Sandby Collections) 
Size, 4 x 9% inches 


DUTCH SCHOOL 
NUMBERS 47-65 


JAN VAN DE CAPELLE 
DUTCH, 17TH CENTURY 


BOATS IN A CAUM SEA 

Black and white chalk on blue paper. A composition 
characteristic of the artist. ‘Three boats in the fore- 
ground, others in the distance. Size, 10 X 14.34 inches 


GERARD TERBORCH 
DUTCH, 1613?-1681 
ARTIST SKETCHING 
Black and white chalk on blue paper. ‘The artist sits on 
a chair and holds the paper with his right hand, while 
he looks attentively at the model. ‘lhe expression is 
excellently rendered. Size, 734 x 11% inches 


SIMON DE VLIEGER 
DUTCH, 1600-1660 


LANDSCAPE 

Black and white chalk on blue paper. Opening of a 
wood bordering a canal; a church in the distance. ‘This 
rare landscape by De Vlieger, as Dr. Lilienfeld points 
out, is reminiscent of Ruysdael. Size, 13 x 165% inches 


12 


GABRIEL METZU 
DUTCH, 1630-1667 


Poe OUNG GIRL, SEATED 


§2 


53 


Black chalk on blue paper. Young girl in close fitting 
cap and white kerchief typical of the period. (From 
the Northwick Collection) Size, 1358 X 914 inches 


J. VAN HUYSUM 
DUTCH, 1682-1749 


FLOWER STUDY 

Black chalk. Flowers in a Renaissance vase. While 

Huysum’s paintings are somewhat formal and cold, the 

present drawing excels through impressionistic freshness. 

Very rapid sketch of another still life on the back. 
Size, 1534 x 1214 inches 


ISAAC VAN OSTADE 
DUTCH SCHOOL, 1621-1649 


Perr VILLAGE 

Pen and sepia with wash. Village street along a canal. 
Night scene. People assembled. One of the finest pieces 
of the collection. (From the Heseltine and Rodriquez 
Collections) Size, 738 x 113% inches 


PHILIP DE KONINCK 
DUTCH, 1619-1688 


THE RAISING OF LAZARUS 

Pen and ink. ‘The Christ with disciples to the right,. 
Lazarus and group of people to the left. Drawing of 
powerful and strangely modern simplification. Although 
Philip de Koninck is particularly famous as a landscape 
painter, the present drawing, as well as the famous series 
in the Dresden Museum, reveals him as a master in 
figural composition, as Dr. Lilienfeld observed. (From 
the Lord Northwick Collection) Size, 656 x 8% inches 


13 


54 


55 


56 


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PHILIP DE KONINCK 
DUTCH, 1619-1688 


SMALL DUTCH LANDSCAPE 

Colored chalk. Long, flat stretches of land and water. 

Wide perspective, a composition characteristic of the 

artist. Infinity expressed with the simplest means. 
Size, 2% x 63% inches 


JAN LIEVENS 
DUTCH, 1607-1674 


COTTAGE UNDER TREES, "WITH yaa 
WHEEL 
Pen and ink with sepia. Dr. Lilienfeld says of this draw- 
ing: “This is one of the most beautiful drawings of 
Lievens. ‘There is a similar one in the Rotterdam 
Museum. It is important for the placing of many other 
works of Lievens which have formerly been ascribed to 
Rembrandt.” (From the Collections of Charles Gax, 
1860, and Fairfax Murray) Size, 84% x 10% inches 


LAMBERT DOOMER 
DUTCH, 1647-1680 


CANAL SCENE WITH WINDMILL 

Pen and ink with sepia. Inlet of the river in the fore- 
ground to the left with perspective of sailing vessels far 
away. Windmill in the centre; path with peasants to 
the right. Doomer’s drawings are more appreciated by 
collectors than his paintings. Size, 854 x 12 inches 


JAN VAN GOYEN 
DUTCH, 1596-1666 


BEACH SCENE WITH FIGURES 
Black chalk, accented with sepia. ‘The shore with boats 
to the left, fishermen and women, a horse cart in the 
middle ground. An old church and houses in the back- 
ground to the right. Signed and dated 1649. (From 
the W. Esdaile and Rumohr Collections) 

Size, 654 x 11% inches 


14 


ADRIAAN BROUWER 
DUTCH, 1605-1638 


50 PEASANTS REVELLING 


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Pen with blue and red ink. A couple dancing in the 
foreground; a table with three singing peasants to the 
right; a kissing couple to the left. Remarkable quality. 
(From the Fairfax Murray Collection) 


Size, 10% x 16% inches 


JACOB VAN RUYSDAEL 
DUTCH, 1625-1682 


DUTCH LANDSCAPE 

Black chalk and wash. An important and unusual draw- 
ing by this great artist. The endless stretch of the Dutch 
lowlands, a town in the distance. Signed. 


Size, 75% X 9 3/5 inches 
15 


60 


REMBRANDT HARMENSZOON VAN RIJN 
DUTCH, 1607-1669 


GROUP OF FOUR SMALL HEADS 
Boldly sketched in pen and ink. Endorsed by Dr. Valen- 


tiner, who will reproduce and list it in his forthcoming 


book on Rembrandt’s drawings. ‘The style places this 
drawing in the period around 1650. | 
Size, 344 x 234 inches 
[SEE ILLUSTRATION | 


16 ; 


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61 


62 


[61] 


REMBRANDT HARMENSZOON VAN RIJN 
DUTCH, 1607-1669 


BUST OF A WOMAN 

Keenly sketched with pen, brush and ink. Dr. Valen- 

tiner considers this drawing an excellent work of the 

artist, and will reproduce and list it in his forthcoming 

book on Rembrandt’s drawings. Such bold sketches after 

nature are characteristic of the artist’s work around 1650. 
Size, 21%4 x 1% inches 

[SEE ILLUSTRATION | 


REMBRANDT HARMENSZOON VAN RIJN 
DUTCH, 1607-1669 


SMALL HEAD OF AN ORIENTAL 
Expressive drawing in pen and ink. Endorsed by Dr. 
Valentiner, who will reproduce and list it in his forth- 
coming book on Rembrandt’s drawings. With collector’s 
mark of Chevalier G. de Frank, 1836. 
Size, 2X 1% inches 
[ SEE ILLUSTRATION | 


17 


63 


REMBRANDT HARMENSZOON VAN RIJN 
DUTCH, 1607-1669 


SATAN IPEMPITING THE @ELRioas 
Pen and ink. Satan and Christ standing on the roof of 
the Temple. Extraordinary depth in the expression of 
the Christ, who stands to the right. Considered by Dr. 
Valentiner as an important drawing by Rembrandt. It 
will be listed and reproduced in Dr. Valentiner’s forth- 
coming book on Rembrandt’s drawings. (Formerly in 
the Collection of Sir Joshua Reynolds) 

Size, 75% x 65% inches 


[SEE ILLUSTRATION | 
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64 


65 


66 


67 


REMBRANDT HARMENSZOON VAN RIJN 
DUTCH, 1607-1669 


THE BAPTISM OF THE BUNUGH 

Pen and ink with wash. ‘The eunuch kneeling in the left 
foreground, the apostle behind him, the retinue to the 
right. Camels in the background. Size, 6 x 758 inches 


SCHOOL OF REMBRANDT 


THE AGONY IN THE GARDEN OFSGE a. 
SEMANE 
Pen and ink with wash. The Christ kneeling to the right 
and comforted by the angel to the left. 
Size, 434 x 5% inches 


GERMAN SCHOOL 
NUMBERS 66-72 


EARLY GERMAN SCHOOL 
SECOND HALF OF 16TH CENTURY 


HEAD OF AN ORIENTAL WEARING TURBAN 
Forceful chiaroscuro in black and white chalk on grey 
paper. 3 Size, 94 x 65% inches 


URS GRAF 
SWISS, ABOUT 1485-1530 


THE ANOINTMENT OF DAVID 
Pen and wash with touches of gold. David kneeling in 
the middle, the priest standing to the left. Group of 
warriors to the left. A hall in Renaissance style, with 
two windows opening upon a landscape. The people of 
characteristic robust Swiss type. In the lower left, large 
monogram of the artist and in the centre the collector’s 
stamp of H. I. Vuscheles, Zurich, a collector of the 16th 
century. Such old collectors’ marks are very rare. 

| Size, 8144 x 9% inches 


20 


68 


69 


70 


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HANS BALDUNG GRIEN 
GERMAN, ABOUT 1476-1545 


ST. PETER WITH SWORD AND BIBLE 
Pen and ink wash. ‘he saint, who seems somewhat em- 
barrassed by his symbolic attributes, is shown moving to 
the left, while he turns his head backwards. 

Size, O4.X 5 inches 


ALBRECHT ALTDORFER 
GERMAN, 1480-1538 


THE DESCENT FROM THE CROSS 

Pen and ink, on reddish-brown paper, heightened with 
white chalk. ‘he composition of the descent from the 
Cross in the centre, the weeping Marys to the left, Jeru- 
salem interpreted as a medizval city in the distance. 


Size, 75% x 6% inches 


LUCAS CRANACH THE ELDER 
GERMAN, 1472-1553 
ATLAS AND HERCULES 
Pen and ink with wash. A very rare and important 
drawing. Hercules, in lion’s skin, has taken the globe 
from Atlas’s shoulders. ‘The giant sits quietly resting to 


the left. Landscape background. (From the Fairfax 
Murray Collection) Size, 544 x 8 inches 


ATTRIBUTED TO ALBRECHT DURER 
GERMAN, 1471-1528 
MADONNA AND CHILD WITH APPLE 
Pen and ink. Landscape background with towers in the 


distance. ‘This is a study for the etching of the same sub- 
ject. Size, 5 X 458 inches 


21 


72 


ALBRECHT DURER 
GERMAN, I471-1528 


LEAF FROM SKETCH BOOK WITH. LAND- 
SCAPES | 

Diirer drawings of this quality are hardly ever offered 
on the market. Silverpoint on prepared paper; one 
sketch washed. Four landscapes on recto, representing 
Albweck castle at Sulz, two castles on rocks and the 
Church of Our Lady at Zinsbach. ‘wo landscapes on 
verso, representing Dornach and Birseck. Dated 1515. 
See article by Ephrussi in “Gazette des Beaux Arts,” 
1880, page 233, tracing a journey by Dtirer (Un Voyage 
inédit d’Albert Dtirer) in which the present sketches 
were reproduced. (Formerly in the Grahl Collection) 

Size, 8 x 85% inches 


[SEE ILLUSTRATION |] 


22 


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SPANISH SCHOOL 
NUMBER 73 


JOSE ESTEBAN MURILLO 
SPANISH, 1618-1682 


FEMALE SAINT, FULL-LENGTH FIGURE 
Black chalk. ‘The saint with her cloak draped around 
her right arm, and holding the martyr’s palm. Effective 
treatment of masses. Sketch of drapery on the reverse. 
Size, 14 x 7% inches 


ENGLISH SCHOOL 
NUMBERS 74-92 


J. Mc W. TURNER 

ENGLISH, 1775-1851 
SMALL MOUNTAINOUS LANDSCAPE WITH 

CASTLE 

Water-color. A hill with a medieval fortress to the 
right, the ocean in the background. Wooded hill in the 
foreground to the left. Fine observation of the light, 
showing the earmarks of the earlier period of the artist. 
Size, 378 X 57% inches 


SIR HENRY RAEBURN 
SCOTCH, 1756-1823 
PORTRAIT STUDY OF THE ARTIS# Saye 


Black and white chalk on grey paper. 
Size, 1318 x 109% inches 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 
LANDSCAPE 
Black and white chalk. A wood interior, a man walking 
over a rustic bridge. (From the Henry Pfungst Collec- 


tion) Size, 11 xX 14% inches 
[SEE ILLUSTRATION | 


24 


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81 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 
THE VALLEY 
Black and white chalk on blue paper. A peaceful valley 


with mountains on either side. Beautiful rendering of 
the late afternoon effect of the sun. 


Size, 7% x 81% inches 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 
GROUP OF TREES NEAR A POOL 


Sepia. A pond to the right; hill and trees in the back- 
ground. Size, 74% x 10% inches 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 


TWO CHILDREN PLAYING BENEATH A 
a tded is 

Black chalk and sepia. (Collection of the Duke of 

Leeds) Size, 734 X 13 inches 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 
SLUDY OF A DOG 
White and black chalk on blue paper. Excellent sketch 


of an Airedale. Size, 814 x 8% inches 
[ SEE ILLUSTRATION | 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 
STORMY LANDSCAPE 
Black and white chalk on brown paper. An excellent 
example of the artist’s Bath period. Tree shaken by the 
storm to the right, waterfall to the left, mountains to the 
rear. Size, 124% x 10% inches 


26 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 
80 THE RAVINE 


Black chalk. A country road winds between hills cov- 
ered with shrubbery. Peasant boy in the foreground. 


, Size, 97% x 14% inches 


oe THOMAS GAINSBOROUGH, R. A. | 
ee _ ENGLISH, 1727-1788 


pomeeet ROACH TO THE VILLAGE 
> Pen and ink with wash. .Trees to the right and left. Out- 


look towards a farmhouse and sunny plain. Figures in 
-.. the foreground. Signed in the upper left. 


Size, 9 x 10% inches 
27 


84 


85 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 


ENTRANCE INTO THE WOOD 

Black and white chalk on blue paper. A winding road 
with a lonely wanderer. Large tree to the right, cottage 
to the left. Size, 74%4 x 9% inches 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 


TWO LANDSCAPES 
‘Two important sketches of the artist. 
(a) Recto: Black and white chalk. Boldly sketched 
group of trees. Sheep in the foreground to the right; 
shepherdess with dog to the left. 3 
(b) Verso: Colored chalks. A farmyard, the barn to 
the right, cows, farm woman and trees to the left. 
Size, 1158 x 14% inches 
[ SEE ILLUSTRATIONS ] 


28 


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89 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 


LADY AND GENTLEMAN IN PARK 

Brush and ink, heightened with colors. ‘The lady seated 

on a bench with her spaniel. Gentleman approaching 

from the right. Background of trees. Charming sketch. 

Signed ‘““T’ G, 1767”. On the reverse diverse sketches in 

pencil. Size, 334 x 71% inches 
[ SEE ILLUSTRATION | 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 
STUDY FOR A PORTRATE 
Black and white chalk on grey paper. Woman in 18th 


century costume, the head resting upon one hand. 
Size, 17 x 9% inches 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 


STUDY OF A PEASANT GIRL 
Pencil. The girl is wearing a hat and carries a jug with 
both hands. Size, 834 x 61% inches 


THOMAS GAINSBOROUGH, R.A. | 
ENGLISH, 1727-1788 


COTTAGE BY THE BROOK 7 
Sepia. Large tree to the left, cottage screened by trees 
to the right. Size, 544 x ol inches 


30 


[86] 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 


90 HOUSES ON THE HILLSIDE 


QI 


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Pen and ink, with white wash on blue paper. A gently 
sloping hill crowned by a group of trees, in which the 
gables of a house are visible. On the reverse, a faint but 
excellent figure sketch. Size, 67% x 103% inches 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 


SKETCH FOR AN ALLEGORICAL PAINTING 
Black chalk. Girl in classical garments seated holding 
a tablet in one hand, and with the other resting upon the 
hand of Cupid, who stands beside her with averted head. 

Size, 1334 xX 114% inches 


THOMAS GAINSBOROUGH, R. A. 
ENGLISH, 1727-1788 


ROCKY LANDSCAPE 
Brush, black and white wash. Ruggedly massed rocks 
to the right contrasting with feathery trees. Shrubs and 
rocks in the foreground to the left. Very beautiful 
quality. (From the Fairfax Murray Collection) 

Size, 734 x 10% inches 


32 


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